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"The great Indian nationalist leader Subhas Chandra Bose arrived in Singapore in 1943 to revitalize the Indian National Army (INA). Taking the opportunity of the Japanese occupation of parts of Southeast Asia, he launched armed struggle against British colonial rule in India. Two years later, that attempt failed at the eastern gates of India. Yet, it was a temporary failure because the INA helped set in motion a series of developments within India. These would culminate in its freedom in a further two years. Bose is household name in India. He is remembered in Southeast Asia as well, particularly among Indians."

"To commemorate the centenary of artist Sukumar Bose (1912–1986), this book attempts to take an incisive look at the artist, his works and the context of his art production in South and Southeast Asia. Bose’s art varied from the traditional to the decorative and ornamental, with a hint of the Oriental flavour. His work demonstrated traces of the Bengal School styles of Abanindranath Tagore and AR Chugtai. Be it figurative, landscape or abstract, Bose’s art synthesized the decorative elements of Indo-Persian miniatures with Chinese and Japanese techniques."

"The Sama-Bajau, or Bajo diaspora, extends from the southern Philippines and Sabah (Malaysian Borneo) to the eastern part of Indonesia. The Indonesian Bajo, now scattered along the coasts of Sulawesi (Celebes) and East Kalimantan, the Eastern Lesser Sunda Islands and Maluku, were once mostly nomadic fishermen of the sea or ocean freight carriers. Today, the Bajo are almost all fishermen and settled. Their former and present ways of life made them favour intangible forms of culture: it is impossible to transport bulky artefacts when moving frequently by boat, or when living in stilt houses, very close to the sea or on a reef. It is therefore an intangible legacy that is the essence of the Bajo's culture. Sandro healers have a vast range of expertise that allows them to protect and heal people when they suffer from natural or supernatural diseases. On the other hand, music and especially oral literature are very rich. In addition to song and the pantun poetry contests, the most prestigous genre is the iko-iko, long epic songs that the Bajo consider to be historical rather than fictional narratives. The Bajo's intangible heritage is fragile, since it is based on oral transmission. In this article, I gave a description of this heritage, dividing it into two areas: the knowledge that allows them to "protect and heal" on the one hand, and to "distract and relax", on the other."